 Every time I photograph roses, it always starts off with walking out into the garden and onto my terrace and looking at which roses are in bloom and which of those blooms are the most beautiful. And then putting them on my kitchen table in a little vase. And there I sit for the next two, three, even four hours photographing roses. And I add, that's where I start with one. I look at that bloom, usually photograph a single rose to start off with, just to look at its shape and its contours. And then I'll think, okay, well, what would it be if I put another rose? What sort of rose would I need and where would I put it? So then I start adding the roses to the composition. And of course they're just like visual harmonies and they move. They're organic, they're not set in stone, so they will wilt. Some of the petals might fall off, the roses often collapse. And it's an ongoing process of balancing and finding shapes that repeat each other, finding colours that harmonise or don't harmonise. But this is very solitary and for that rather meditative and actually very unusual and very, I find it very relaxing in a strange way. It's not easy by any means, because to try and find form and to try and find harmonies within these roses doesn't come naturally. You have to spend a lot of time doing very small adjustments and they make an enormous amount of difference. And I usually start off, as I said, start with a few roses and build up and build up and build up, depending on what sort of roses I'm photographing. Sometimes you'll learn that with 20 or 30 blooms even. Sometimes you'll learn that with just two or three. And it's quite surprising how the roses really find the sort of echo shapes between each other and how they sort of find almost like a sort of a relationship between one flower and another flower and it's where they sort of continue the movement. So the setup is very simple. I use my iPhone to capture all the roses. It's so flexible and so easy to use. Although I've used every sort of camera really over the years, the iPhone is particularly useful to this because you're not on a tripod. You're really free to move around it. Unless they are put on my kitchen table, the light that comes from the side is from the window and the light that falls on the background is from the skylight. So it's just lit with daylight and that gives it a certain sort of fragile elegance which I find very beautiful. The second part of the process is that once I've finished the actual physical session, which has last some hours long, I will then sit down by myself in a chair and go through all those pictures and apply Instagram filters to them, which fundamentally changes the image. So there's a lot of work that happens in that state. But it is, for me, it's very easy to see which ones work and which ones don't. Then the third step of the process is I send the Instagram file, and I publish that on Instagram. Then I send that file along with the original file to my retoucher, Mark Boyle, who puts the original file and the Instagram file through an AI. That sharpens the image and it sharpens it a lot. It isn't just a slight sharpening. It actually gives it probably 30% or 25% more sharpness, more definition. We combine the different layers. So we combine the layer that's sharpened to 30%, the layer that's sharpened at 15%. We combine it with the original Instagram that was published, we've drawn it with the original file. On top of that, we do a certain amount of literal painting on screen to refine edges to lose blemishes that we don't like, to bring out blemishes that we do like. Just as a painter would do, manipulate the imagery in front of him or her and allow it to become more what you want to see and less what you do not want to see. Some of the original references for these pictures are across the sort of Dutch flower paintings of the 70s and 18th century, but they were quite small scale. What I think is exciting is to take these into a completely different dimension. So I print them six to nine foot tall. My prints are done in California and then sent to me to my studio in London where I spent quite a long time going through them and refining them. I marked them with a chandelier, all little bits that need to be refined or changed. When you see these pictures in the gallery and you stand back from them, they're talking the language of painting of 17th and 18th century flower painting. But if you go really, really close up, like you would with a real painting, you'd see individual brush strokes. If you were going close to a photograph, you'd see grain. But these have got a new structure. If you look really closely at the structure of the image, it's actually something very new which comes from the combination of the AI and the digital capture. It's a surface and a texture and a structure we haven't seen before in image making. I think that is fundamentally exciting.